PaavolaPyry

Hi Henry! The microtones are only sort of marked in passing and occasionally on the score as I wrote the score for the player. The tuning of the guitar string is what gives the microtonality to the score, so in an effort to not overcomplicate the score I tried to show them as little as possible. As the subtitle says, the G-string is tuned 20 cents high and the B-string 10 cents low. I could also write an analysis score in which all the microtones are visible, but I felt like player-wise this solution felt more organic. But tell me if you disagree, I don't fully know if I made the right decision😅. And indeed initially it was improvisatory but I sometimes do this thing where I first improvise and then try to repeat my improvisation 6-10 times. After a while I land at something, and this is where I landed yesterday :D. Thanks for the kind words and the review ❤️

I was thinking about the ice that's formed here on the ocean. How in foggy conditions it looks like it never ends. I'd like to go sit at the beach of my cottage with an omni mic and just stare into the fog and play this... This is also a slight experimentation on both microtonal tunings (aesthetic) and in player's freedom. You'll note that my recording sounds a bit different to this (and was actually played on steel string guitar), but that's the point :D. I often feel that the player is not given enough free reign to interpret what they are playing - not enough free reign to bring themself to the stage. So this is a slight complaint to that I suppose. All thoughts, feelings, colours, landscapes, gibberish, textur 21st of jan.mp3 es that come to mind please tell me.

Thank you! On the ending, if I may ask for advice, do you think the instrumentation would work, or are there some that could work better?

Hi Luis and thanks for the feedback! I am not an expert either, but I tried to make sure that the timings are sensible - hence why it alternates between the two horns (1&2) in the themes. If you have any further thoughts all are welcome! I think with these minimalistic pieces I really try to find small things, like colours or feelings or smells or certain tactile sensations... So everything is very interesting to read! With great thanks from Finland Pyry

Wow! Very interesting! I'd gladly learn more!

Nice! Looks like you have everything in order, good luck 🙂

This all sounds and looks very professional so pardon me but I will give some subjective thoughts on the piece: For the first part, I really like your use of the minor 6th scale degree. It is well used, but also its sound maybe looses some power towards the end. I also feel that maybe I would've wanted a bit more time before the strings come in loud, before it explodes so to speak. I personally love to exploit the perfect 4th that forms between the minor6th and minor9th, but that might not fit into here anywhere, just wanted to point it out :D. I love bar 81 and how that part develops. Love it. Nice use of seconds in horns and violas on page 16. On page 17 bar 150 and forward I am a bit sceptical about the flutes hitting those high notes, perhaps the oboes too. I feel they distract from the theme a little bit. The chords between page 17 and 18 are very nice, I like those a lot! It breaths a lot of colour to the lines. Page 19 works really well too, maybe there's some things about form I would look at over there (kinda feels like it jumps from one thing to another), but I think you do a very good effort of gluing those themes together. I would maybe just recheck it and try a couple different things, but your solution might just be completely fine. The Andante Cantabile feels rewarding. That whole Andante Cantabile part has a nice energy to it, gives you goosebumps. Very ballet-like! I don't know if I fully agree with the turn from the horns in bar 213 to the earlier waltz theme in bar 227. I would maybe hope for a bit more glue there, something a bit more elegant. Trumpets are nice though! Although once again I feel that the trumpets could've played for twice as long, the jump feels a bit rushed now to me. Ending in the larger sense is powerful, maybe I would think a little about form once again, like how have we earned this ending. Also the last bars I don't agree with :D, I feel like you bring us to the mountain top and then there's a different ending to the one I was anticipating and waiting for - this said, endings in my opinion are one of the most difficult parts of a piece. But you have built up well to the ending, really well, I was feeling goosebumps, but the hits left me feeling a bit betrayed. I hope this doesn't come off as mean! That is not my intention. I liked the piece a lot, these are just the things that jumped at me. You don't need to agree with these or do anything about these, most of these are not some general guidelines or greater truths but just how I felt myself. I am not opposed to you keeping the score musically as is (other have pointed out the technicalities). Great piece! Thank you for sharing, and do keep sharing! With great admiration from Finland, Pyry

Fun and very joyful! I have no specific nitpicks, all I would say is what my composing teacher(s) has (have) told me for as long as Ive been studying under them: After you have finished a score or a part, go through it and think with intention what things you intend and why. Try to make sure everything in some way has a meaning and that for example one idea leads to another properly. Make sure the "macro and micro" (as I like to call them) are both intentional: That means greater form things and also small individual things. But great piece! This is more of a general guideline than anything. I think mostly everything works here, perhaps I would've done some things differently for personal reasons, but that doesn't then concern you. Best regards from Finland, Pyry

Very cool! I have no idea how to read your PDF file, but cool! It is very exciting to listen to music with a philosophical or musicological point! The high frequency sounds make me shiver slightly, and I find myself adjusting the volume constantly, but this is most likely more because of my unfamiliarity with the genre and style. If I may ask, what do you mean by parallax? Best regards, Pyry from Finland.

Hi Chikotora! Cool piece, as a folk musician (albeit Finnish) I find this very exciting. It feels very natural and folklike, which is a great thing to get in a written trad style piece! It definitely feels like Klezmer! Regarding the start, if you mark it as espressivo or as really slow I think it'll work. The first bar could work if it was played slow and expressively - most players would understand that instruction and make it work. Alternatively, you can always tell the player to improvise and if you want to be more involved compositionally then give them a framework to improvise around! Folk music and improvisation go hand in hand. The pizzicato would then work well as a gentle introduction and it also makes the listener's ear go into a groove. Here is an example of what I imagine the improvised intro could sound like, of course in your case it is just one violin: (Youtube) - This is an actual Finnish folk tune (composed by an old guy forgot his name right now). The intro is quite short but you get the idea and the feel! In the score it is just labelled as "improvisation"! Alternatively you could do some lick (jazz term) based on the melody and then go into the pizzicato. Anyhow I think you can sort of have anything short before the pizzicato because the pizzicato grounds it so well. I think there might've been some very difficult fingerings there somewhere that I'd have to check but as a general rule I would advise always testing everything. But overall seemed very playable and intuitive. With kind regards from Finland, Pyry.

Based on overall how I felt that day. Associated poem: All thoughts welcome Horn trio on January 13th (ft. low brass and winds).mp3 Original poem on the platform where I share my poems Horn trio on January 13th (ft. low brass and winds).pdf

I love that my name "Pyry" has been translated in the message you quote to "Piria"😅😂. But yes! I just woke up but I might send you a private message soon regarding the techniques! I will be following your work very closely!!! You have earned yourself a fan -Pyry

Hi Henry and thanks for the kind words! I definitely tried to get a lot from very little, I've been doing that a lot lately. I did also think about the key sig. change... Do you think I should keep it as is and why so? -P

Hia, thank you for the answer. And I completely understand and relate. It is a shame about the score. But yeah, passion is what keeps the ball rolling, I applaud you for that. In case I forgot to mention it, I still liked the piece! Keep on going, I might check some of your other posts in the near future. Good night! 😄

Wow! I am very impressed! This reminds me of some pieces I've written myself but I am really excited by this! The techniques are well used, timbers and harmonies work. The score also looks well thought out (using a landscape style view also seems to be smart). How long did this take to make? I have two very close people in my life (one could even call them family) who have OCD, and even though I don't score particularly high on those tests I still feel that I have a basic understanding of the disorder. The sudden strikes and hits definitely seem to hit a mark. It feels like a fight. When I hear a major tonality or something "easier" to listen to I imagine the situation in which you do the thing your anxiety tells you to — But as is evident by the piece, the anxiety comes back. To my understanding that is one part of OCD but once again as I don't myself experience it I hope I am not making any mistakes in my analysis. If you are open to discussion about this piece I have many questions concerning the process and symbolic decisions you made! Thank you, Best wishes from Finland, Pyry.